Features of Indian EnglishIndian English refers to dialects or varieties of English spoken primarily in India and also by Indian Diaspora elsewhere In the world. Due to British colonialism for over two hundred years’ as were used more to British English than to American, Australian or Canadian English. And due to the presence of vernacular languages in our country, English was chosen to be the co-official language of the union of India. Our obvious choice is one of the varieties of British English; which educated southern British English also called as “Received Pronunciation” The reasons for these variations are:

· The presence of many vernacular languages
· People learn their mother Language first· By the time they start learning English, they find it difficult to follow that pronunciation · They have in them very strongly formed linguistic habits that interface with their learning English · The phonological system of the mother tongue will have an influence on the phonology of their English Because of these reasons, Indian English has emerged as another variety of English just like the American, South African, etc, with its own distinctive features. Since there are several languages spoken in India, there cannot strictly speaking, be something called French English or German English; instead we have a variety of English spoken in India, such as Tamil English, Malayalam English, Telugu English, etc Basing on these varieties, the feature of Indian English can be grouped under phonological and grammatical features. http://www.boddunan.com/education/61-english-language/1568-indian-english.html

The differences between English and Hindi/UrduIntroduction: Hindi is the major language of India. Linguistically and in its everyday spoken form Hindi is virtually identical to Urdu, which is the national language of Pakistan. The two languages are often jointly referred to as Hindustani or Hindu-Urdu. The differences between them are found in formal situations and in writing. Whereas Urdu is written in a form of Arabic script, Hindi is written left to right in a script called Devangari. Furthermore, much Urdu vocabulary derives from Persian / Arabic, while Sanskrit is the major supplier of Hindi words. The rest of this brief overview concerns the likely areas of interference between Hindi and English, although most of what is listed applies to Urdu too. Alphabet: The Devangari script employed by Hindi contains both vowels (10) and consonants (40) and is characterized by bars on top of the symbols. Hindi is highly phonetic; i.e. the pronunciation of new words can be reliably predicted from their written form. This is in strong contrast to English, with the result that Hindi learners may struggle with English spelling. Conversely, they may mispronounce words that they first encounter in writing. Phonology: In comparison with English Hindi has approximately half as many vowels and twice as many consonants. This leads to several problems of pronunciation. One difficulty is distinguishing phonemes in words such as said / sad; par / paw; vet / wet, etc. Words containing the letters th (this, thing, months) will cause Hindi learners the same kind of problems that they cause most other learners of English. The phoneme // as exemplified by the s in pleasure is missing in Hindi and so pronunciation of such words is difficult. Consonants clusters at the beginning or end of words are more common in English than Hindi. This leads to errors in the pronunciation of words such as straight (istraight), fly (faly), film (filam). Compared to English Hindi has weak but predictable word stress. Learners therefore have considerable difficulty with the irregular stress patterns of words such as photograph / photographer. Hindi learners are disinclined to 'swallow' unstressed syllables such as the first syllables in the words tomorrow, intelligent, remember, etc., and will often try to clearly articulate short, common words that are usually weakly...

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...Major Works of Anita Desai, the Indian Novelist
Most of Desai's works engage the complexities of modern Indian culture from a feminine perspective while highlighting the female Indian predicament of maintaining self-identity as an individual woman. Cry, the Peacock, Desai's first novel, chronicles the morbid dread, descent into madness, and suicide of Maya, a young Delhi housewife who is trapped in a loveless, arranged marriage to the much older Gautama, a misogynistic lawyer. The novel foreshadows several of the major recurring themes in Desai's works—the problems of independence and communication, the influence of the West, and the tensions between religious and domestic interaction. Set in the late 1950s, Voices in the City depicts Indian society still in transition more than a decade after India's independence from British rule. The novel is broken into four sections—the first three are named after a trio of young adult siblings from a Himalayan village who, separately and for different reasons, have moved to Calcutta. As the narrative follows each sibling individually, Desai illuminates the myriad ways that their respective social class defines their self-identities. In Bye-Bye, Blackbird, her first novelistic foray into a country beyond India, Desai portrays the intense xenophobia and prejudice that manifested in England during the influx of commonwealth immigration in the 1950s and 1960s. The novel opens with...

...The main objective of working on Ghosh is to reinterpret this huge iconic figure in contemporary Anglo Indian literature who has raised and answered a lot many questions about the identity of the subjugated in this world. His readings give us insights into the plight of émigré. In order to reach the depth of his vision one needs precise tools to make a better sense of the eastern discourses on suppressed or marginalised who are misrepresented by the westerners misusing the power of expression. Some critical tools will be used here to understand the workings of the discourses in all their forms- political, biographical , epistemic and of course literary. A brief account of this chapter is as follow:
The first novel by Amitav Ghosh, The Circle of Reason, was published in 1986. In his In an Antique Land (1992), Ghosh connects the sciences of historiography, ethnography and philology with the representational strategies of fiction. Amitav followed his passion for writing by taking up a job in a print media company. His first job was for a local tabloid called the Indian Express. In 1986, he published his first book The Circle of Reason. Over the years, Ghosh wrote several books such as The Shadow Lines (1988), In an Antique Land, (1992), The Calcutta Chromosome (1995), Dancing in Cambodia (1998), Countdown (1999), The Glass Palace (2000), The Imam and the Indian (2002), The Hungry Tide (2005), Sea Of Poppies (2008), and River of...

...A VERY INDIAN POEM IN INDIANENGLISH - Critical Summary
Introduction:
Nissim Ezekiel is one of those Indian poets writing in English who creates an authentic flavor of India, by his use of IndianEnglish - Pidgin English on Bazar English, as it is often called. In this poem, the Indian flavor has been created by stressing the various mistakes which Indians commit in their use of English, by bringing in the hopes and aspirations of free India, and also the attitudes of her two hostile neighbors, China and Pakistan.
Poetic Inspiration for the Poem:
It all started as a comment by a friend who said that you write in English no doubt and you write English well but you don't seem to even know or realise that thousands of Indians speak what can only be called IndianEnglish, So from that time in all his train journeys from Mithibai College back home, he started to take some interest in the way English was being spoken on the train. Every time he heard an obvious IndianEnglish phrase like, "I'm not knowing only." he would take it down. When he had about a thousand of these, he thought of creating this present poem.
The Indian Living Conditions:
Ezekiel presents that the...

...COLONIALISM, POST-COLONIALISM & POST-COLONIAL INDIANENGLISH LITERATURE
ABSTRACT
Colonialism is the building and maintaining of colonies in one territory by people from another territory. Colonialism normally refers to a period of history from the 15th to the 20th century when people from Europe established colonies on other continents.
Collins English Dictionary defines colonialism as "the policy of acquiring and maintaining colonies, especially for exploitation."
The Stanford Encyclopaedia of Philosophy "uses the term colonialism to describe the process of European settlement and political control over the rest of the world, including Americas, Australia, and parts of Africa and Asia."
Post-colonialism
Post-colonialism refers to a set of theories in philosophy and literature that grapple with the legacy of colonial rule. In this sense, postcolonial literature may be considered a branch of postmodern literature concerned with the political and cultural independence of peoples formerly subjugated in colonial empires.
Edward Said, a founding figure in post-colonialism, was known best for his book Orientalism (1978). The book has been highly influential in postcolonial studies and presented his influential ideas on Orientalism, the Western study of Eastern cultures.
Post-colonial literature sometimes called "New English literature is a body of literary writings that reacts to the discourse of colonization....

...﻿THEMES IN INDIAN WRITING IN ENGLISH
Introduction:
The end of World War II led to the end of colonialism, which in turn saw the emergence of independent nations, trying to gain a foothold in the world. India was one of those nations. Before Independence, Indian Writing in English had no direct relation to the events which led to Independence. Hence, it was neglected by most critics. However, post-independence, this situation changed. The concern of the new poets became their relationship to and alienation from the realities of their society. In particular, they faced a challenge from the older nationalist intellectuals and from regionalists who demanded a renaissance of the culture of the pre-colonial languages of India.
Many of the poets, had left India for study or to travel abroad or simply because they were dissatisfied. Some of them returned after Independence only to realise that the post-independence India was not the same as the India they had left years ago. Hence they were disillusioned and they were struggling to understand their own motherland. Therefore, their feelings of alienation and nostalgia were highlighted in their poems. They also shed light on important issues such as the ambiguity of religion and the subjugation of women. The poets also adopted the Marxist ideology to give a voice to their protests in their poems.
Themes:
ALIENATION: Colonialism led to the migration of many...

...Trace the various phases of the development of the IndianEnglish Novel
The story of the IndianEnglish novel is really the story of a changing India. There was a time when education was a rare opportunity and speaking English was unnecessary. The stories were already there- in the myths, in the folklore and the umpteen languages and cultures that gossiped, conversed, laughed and cried all over the subcontinent. India has always been a land of stories, the demarcation between ritual and reality being very narrow.
The IndianEnglish novel erupted in the fiery talks of Henry Derozio, the spiritual prose of Tagore and the pacifist dictums preached by Gandhi. With the coming of Mulk Raj Anand, Raja Rao and R.K.Narayan, the IndianEnglish novel had begun its journey. In “Coolie” by Mulk Raj Anand, the social disparity in India is laid bare. In R.K.Narayan’s imaginary village Malgudi, the invisible men and women of our teeming population come to life and act out life with all its perversities and whimsicalities. In ‘Kanthapura’ by Raja Rao, Gandhism awakes in a sleepy village down south. India no longer needed to be depicted by outsiders. The perspectives from within ensured more clarity and served a social documentative purpose as well.
The early novels in India were not just patriotic depictions of Indianness. There were the cynics. Niradh C...

...Studies on Contemporary IndianEnglish Women Writers
Dominic, K. V., ed. Critical Studies on Contemporary IndianEnglish Women Writers. New Delhi: Sarup Book Publishers Pvt. Ltd., 2010. Pp. 336 + xx. Rs. 1100/- Hardbound. ISBN-978-81-7625-631-5.
DC Chambial
The book under review by Dr. K. V. Dominic has 27 essays by 24 eminent critics of IndianEnglish literature on about 12 IndianEnglish writers: novelists, and poets. There are four essays on Anita Desai, two on Kamala Markandaya, two on Kamala Das, three on Shashi Deshpande, two on Arundhati Roy, two on Bharati Mukherjee, one each on Jaishree Mishra, Chitra Banerjee Divakaruni, Kiran Desai, Smita Tiwari, Chandramoni Narayanswamy, and Charmayne D’Souza. There is also one article that makes a comparative study of world women poets. Linda Lowen and Jaydeep Sarangi interview respectively Sarojini Sahoo and Rizio Yohanan Raj. V. Ramesh has three and Sudhir Arora two articles in this anthology. Besides, there is also a ‘Preface’ by the editor, Prof. Dominic, doctorate on the fiction of RK Narayan, is, himself, a poet and critic of wide renown.
The editor, in his ‘Preface’ to this book, is very clear about his perception about the IndianEnglish women writers. He writes: “Indian writing in English is . . . both an Indian literature and a...

...English Literature
Eng 102
Term Paper II
Topic:
Post-Colonial IndianEnglish Drama
India has the longest and the richest tradition in drama. During the age of the Vedic Aryans,
drama was performed in a simple way. Different episodes from the Ramayana, the Mahabharata, and the Bhagavad-Gita were enacted out in front of people. When Britishers came in India, the crippled Indian drama regained its strength. In 1920, a new drama in almost all the Indian languages came to the fore, it was a drama largely influenced by prevailing movements like Marxism, Psychoanalysis, and surrealism. Indian drama got a new footing when kendriya Natak Sangeet Akadmi was started in January 1953. National school of drama set up Sangeet Natak Akadami in 1959 was another development. The year 1972 was a landmark year for Indian theatre. Badal Sircar, vijay tendulkar and girish karnad have contributed to the modernization of the face of the Indian theatre, these play wrights have made bold innovations and fruitful experiments.
Postcolonial Writings as we have observed, emphasize the process of strong resistance in the societies and also put emphasis on the reality of life. It deals with the literature written by the people of colonized countries that...